The Ugliness of Orchestras' Self-Produced CD Covers

[Archaic Torso of Apollo]

Is it my imagination, or is all cover "art" on the CDs produced by orchestras depressingly ugly, drab and dull? A few examples:







The cheapest budget labels usually do a better job than this. I know you shouldn't judge a book (or recording) by its cover, but let's face it, we live in a world of marketing, and such things do have an impact on us.

Is this just a problem of money, or is there something else going on? Or am I just getting annoyed over nothing? 

[mc ukrneal]

I rather like the first cover - the Mahler symphony cycle - that uses the lightning. It is dynamic and interesting. LSO Live have done some other good covers as well.

The others are less interesting. But there are a lot of labels, around for some years, that I think have never really gotten it (at least, I am not a fan of the chosen style). I think it is more a question of style and how a label differentiates itself. It can take some time to do that like CPO or Hyperion have successfully done.

It's not worth getting upset about though.

[springrite]

I wouldn't mind all CDs having Rathko paintings as covers. 

[Opus106]

SDG's covers for the Bach Cantatas series are rather good.

[False_Dmitry]

They make a welcome change from Naxos covers, which I think are "designed" in MS-Word, or MS-Paint

[Todd]

Is it my imagination, or is all cover "art" on the CDs produced by orchestras depressingly ugly, drab and dull?

I think it may be your imagination. 

[Lethevich]

By the already staggeringly low standards set by the "major" labels, while the orchestra labels may lack some inspiration, they do make up for this by having a conherent look. Everything else can be a clusterfuck of hideous ideas executed poorly.

One of the most frequent issues is the label's template into which the image is added is ugly as hell. I do mean Naxos and BIS. CPO does exactly the same kind of templated branding, but manage to produce an acceptable end result by the template being tasteful. Wergo makes some odd choices, sometimes truly hideous, but they have a very solid brand identity, and it always has some kind of thought behind the choice and execution. It retains some of that deadly serious modern/digital art style that DG used to use for some of its 20th century recordings.

If you want a reasonably well known (not hobby) label that most consistently produced asolutely hideous choices of art, look no further than ASV Regis and Alto lead the field in the "made in Microsoft Paint" category of bargain basement labels.

Others manage to spoil covers with garish logos. Channel Classics looks like the cover has been scribbled on, coupled with a bright red band that makes Chandos and Supraphon's (in their latest issues) omnipresent tomato red things look positively tasteful.

Hyperion and Harmonia Mundi are some of the few that don't outright ruin covers by the inclusion of its logo - the former especially. Ondine, bringing up the rear.

Basically, when faced by all this nonsense, those orchestra labels aren't so bad

[Franco]

I buy CDs for the music and don't really care about the covers.

But that's just me.

[Todd]

But that's just me.

Well, not just you.

[springrite]

I buy CDs for the music and don't really care about the covers.

But that's just me.

Wait for the debut of the Penhouse Label!

[Lethevich]

Bad design is just lazy - it doesn't have to cost much. It can even be self-learnt if even minor cost is an issue. The music on the CD may be the main focus, but the pleasant feeling of having a great CD that doesn't look ridiculous in my hands I find is a nice bonus.

Also, in a genre that could do with as many sales as possible due to its slim customer base, making CD packaging look acceptable could encourage those crucial few neutral buyer to pick it up and investigate. If a classical CD covered with pictures of the "hot babe" playing on it can verifiably boost its sales, then a CD cover that is well-designed should sell slightly better than an equally good one that looks bad simply by being eye-catching or visually memorable (a lot of people still memorise CDs by cover rather than full performer info).

[Bulldog]

Is it my imagination, or is all cover "art" on the CDs produced by orchestras depressingly ugly, drab and dull? A few examples:







The cheapest budget labels usually do a better job than this. I know you shouldn't judge a book (or recording) by its cover, but let's face it, we live in a world of marketing, and such things do have an impact on us.

Is this just a problem of money, or is there something else going on? Or am I just getting annoyed over nothing? 

You're getting annoyed over nothing.  Besides, those covers aren't bad at all; I particularly like the Bruckner 7th cover.

[DavidW]

I buy CDs for the music and don't really care about the covers.

But that's just me.

+1 who cares about cover art?  I don't.

[bhodges]

Yes, in this case, I don't find the three covers annoying at all.  While I wouldn't cite any as "exceptional," they each have their merits. 

One of the most frequent issues is the label's template into which the image is added is ugly as hell. I do mean Naxos and BIS. CPO does exactly the same kind of templated branding, but manage to produce an acceptable end result by the template being tasteful. Wergo makes some odd choices, sometimes truly hideous, but they have a very solid brand identity, and it always has some kind of thought behind the choice and execution. It retains some of that deadly serious modern/digital art style that DG used to use for some of its 20th century recordings.

Agree with you about CPO and Wergo.  Although they're not always successful, the track record is pretty good.  I also like what Arte Nova does on a budget. 

And sure: the music is most important.  I do appreciate a good cover design, a desire that I suspect is a holdover from the days of the LP.  I wonder if people who primarily download music feel differently?

--Bruce

[Bulldog]

+1 who cares about cover art?  I don't.

Although not a big deal, attractive covers are a little bonus. 

[Dancing Divertimentian]

Others manage to spoil covers with garish logos. Channel Classics looks like the cover has been scribbled on, coupled with a bright red band that makes Chandos and Supraphon's (in their latest issues) omnipresent tomato red things look positively tasteful.

Hmm...I like the scribbled-on look of the Channel Classics logo. Cool double bass and all... It's a good antidote to all those logos with that sort of stamped-on look: Teldec, Decca, Hänssler, Sony, EMI, etc...

Incidentally, worst logo in my book: PentaTone.

[Lethevich]

I had always imagined it was based on Dali's sketch of Rostropovich, but re-checking it now, it could be a coincidence:



It does look good sometimes, others it clashes quite badly, but I guess kudos to them for trying something different.

[Scarpia]

I didn't like it when DG started to abandon their tradition "cartouche"

[Joe Barron]

I wouldn't mind all CDs having Rathko paintings as covers. 

Wow, something else we have in common, Paul. If you're ever in the States ...

[Joe Barron]

Wait for the debut of the Penthouse Label!

It's been done. There (or was) a series of CDs that used erotic photographs on their covers as a marketing tool. Very upscale, black and white lesbian shots. They got your attention, or at least they got mine. I would have purchaed one or two if the selections hadn;t all been the standard Chopin waltz - Little Night Music standards.

Then, there is the photo of Lara St. John.